Opiniões dos críticos

The writing loses its way in the final half-hour, but Rosalie does a decent job of working feminist concerns in with the old-school values of prestige French cinema.

Here is an intriguing, if not wholly successful, attempt to create a hero for gender-fluid times and give them the full mainstream period-film trimmings.

Tereszkiewicz is a force as the title character, embodying honest and raw emotions during some difficult scenes. Despite things at times feeling like two different films, its message is clear: we are all different, and that should be celebrated.

Overall, despite some issues in its pacing and character development, Rosalie is a wonderful film...

Both a matter-of-fact speculation on how a husband and a small town would react to someone like this in their midst... and a barely disguised parable about intolerance, Rosalie offers a very watchable, offbeat slice of period drama.

Stéphanie Di Gusto’s Rosalie commits the sin of making a textbook, indifferent, and repetitive period recreation that rests on its discourse about a dysfunctional woman in a conservative era

Despite the classy cinematography and quality costumes, there is almost a lack of sophistication regarding the material. This is simply not a deep movie.

[T]he French filmmaker has nonetheless done a more than honourable job, delivering a classic and well-controlled second feature film... telling a story of supposedly impossible love, carried by two brilliant actors, Nadia Tereszkiewicz and Benoît Magimel...